Dr. Ive Covaci, an adjunct professor of art history here at Fairfield University, has brought her expertise beyond the classroom, co-curating “On Fire” at the Museum of Contemporary Art CT. The exhibition, which features over 75 artworks spanning from the 1930s to the present, explores themes of energy, climate and infrastructure, engaging audiences in critical dialogue on environmental and technological evolution. Curated alongside co-curator Anne Boberski and the WestPAC exhibition committee, “On Fire” takes as its focal point the Boyer Evolution of Heat murals from the 1930s, using them as a springboard to examine how energy and environmental concerns have transformed over time. “We wanted to bring those murals into the present, since these issues are so critical,” Dr. Covaci explained, emphasizing how the exhibition coincided with the devastating Los Angeles wildfires.
Selecting works from WestPAC’s collection of over 2,000 pieces, Covaci and her team sought to create compelling visual dialogues. “I love the abstract 1970s Enrico Baj “phantom rocks” next to the Boyer volcano,” she noted. “And the 1999 photograph by Larry Silver of a shipyard in China, next to the Boyer blasting furnace. Besides being visually interesting in juxtaposition, they can get us thinking about how we produce and use energy and power and how that is changing.”
The curation process was not without its challenges. One of the difficulties was ensuring the exhibition did not present a singular, overarching narrative, but instead encouraged visitors to form their own interpretations. “I think the exhibition doesn’t provide any ‘master narrative’… there are lots of questions on labels which our committee helped us come up with, and no real answers provided from us,” she remarked. Additionally, the inclusion of the “Ford Times” group of watercolors from the 1950s-60s presented another layer of complexity. “Anne framed these works by highlighting their use in Ford’s marketing campaign, encouraging Americans to drive around the country seeing the natural and social attractions… and shaping our dependence and desire for cars along the way.”
Beyond its aesthetic and historical significance, “On Fire” serves as a catalyst for public engagement. “From the start, we envisioned this exhibition as being based around questions and dialogue,” Covaci shared. “Art can help us see things more closely, or see things differently, and pay more attention to the world around us.” She highlighted the impact of artists like Eliot Porter, whose 1960s color photography was instrumental in conservation advocacy, reinforcing the power of art in shaping public discourse.
Covaci also discussed how her own research for “On Fire” led to personal revelations about local environmental issues. “I didn’t know how much about the Aspetuck River that runs through our area, but we have such a beautiful drawing of the river by Ralph Boyer in the exhibition. Through research, I learned more about it: that the name means ‘river of many fish’ in the language of the Indigenous Paugusset people; that the river has a long history of mill industries and dams; that these dams prevent fish from the Sound from migrating upriver,” she said. This newfound knowledge deepened her investment in local environmental advocacy.
As a professor specializing in Japanese art, curating “On Fire” posed an exciting challenge for Covaci, requiring research outside her primary field. “Trained mainly in Asian art, there are so many gaps in my ‘Western’ art history knowledge, especially the 20th century,” she admitted, “So I love the research aspect of curating a show because I’m learning a ton.” She cited her discovery of the Arte Nucleare, or “nuclear art” movement in mid-century Italy, founded by Enrico Baj, as an example of the unexpected but rewarding research paths she encountered.
Her curatorial work directly influences her teaching at Fairfield, where she incorporates real-world experiences into the classroom. Last fall, she guided her students through a semester-long project curating a hypothetical exhibition, “Art and the Afterlife”, at the Walsh Gallery. “Every student contributed an in-depth catalog essay and a label for their chosen object,” Covaci explained. “The class worked together to play a layout, and come up with ideas for design marketing, fundraising, educational programs, merchandise, social media and other areas of exhibition production.” She emphasized how hands-on experience mirrors real museum work. “These students will certainly have a whole lot more insight into the ‘behind the scenes’ of any museum or exhibition they visit in the future!”
Dr. Covaci’s work exemplifies how Fairfield faculty extend their expertise beyond campus, bridging academic and professional practice. Through “On Fire” she not only brings critical environmental issues to the forefront but also enriches her students’ education, ensuring they understand the power of art in both historical and contemporary contexts. Her ability to connect historical analysis, curatorial practice and community engagement highlights the vital role of professors who apply their scholarship in real-world settings, ultimately benefiting both their students and the broader public.
This kind of active engagement is particularly essential in the humanities, where the application of research beyond academics can lead to broader cultural and societal impact. Professors who take their work into the public spaces– whether through exhibitions, public lectures, or collaborations with cultural institutions– help bridge the gap between academic inquiry and real-world application. By engaging with the larger professional community, they ensure their friends remain dynamic and relevant, fostering public appreciation for the humanities while enriching their own research and teaching. Dr. Covaci’s work stands as an example of how scholars can take their expertise a step further, making a tangible difference both inside and outside the university setting.
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